The President of the United States, Donald Trump, has once again blurred the line between reality and fiction by publishing a video on X created with artificial intelligence in which he appears to throw comedian Stephen Colbert into a dumpster and then start dancing. The White House has re-published this montage, which disregards any sense of institutional restraint seen until now in a leader of this caliber. Furthermore, the message puts the CBS network in an uncomfortable situation, which has always maintained that the decision to cancel its program was solely due to economic reasons.

Gentrification, occupation and housing crisis are just some of the themes that Ravalejar touches on, a 100% Barcelona series that is now available on HBO Max after its run at the Berlin festival. The fiction, which will be shown on 3Cat later, is inspired by the family history of its creator, Pol Rodríguez, who saw his parents lose their restaurant, Can Lluís, due to an investment fund. In Ravalejar, the protagonists are the owners of Can Mosques, a centenarian restaurant in the Raval whose continuity is threatened by the appearance of a fund that wants to evict them from the building where they are located. Enric Auquer (Rupià, 1988) plays the son who is capable of crossing all limits to save his parents' business. Pol Rodríguez also directs the series alongside Isaki Lacuesta.

On Thursday night, the The late show on CBS closed its doors. Stephen Colbert is already on vacation, and a historic era of television late night is considered to be over.The presenter began by explaining that they wanted to have a normal broadcast, without solemnity or self-congratulation. He appealed to one of the founding principles: to consider the program a joy machine, a machine of joy based on what they have called a "reciprocal emotional relationship," defending a bond with the audience that fed back into the show. The result, therefore, was more emotional and symbolic than combative. Despite clear evidence that political pressures have ruined the program, Colbert avoided caustic comments against Donald Trump. And they were missed. After all the analytical capacity the program has shown, of the ideological substrate it has managed with such intelligence, the ending was steeped in an insubstantial and soft spirit. The aim was to enhance the friendly and festive tone without bitterness. But the last program did not do justice to its capacity for influence and, above all, to its critical and demanding spirit. More biting wit and less foolishness were expected.Paul McCartney was the main guest. The choice also had an allegorical meaning: the Beatles debuted on The Ed Sullivan show 62 years ago. The show, however, was full of fleeting appearances by good friends of Colbert: Brian Cranston, Paul Rudd, Ryan Reynolds, Elijah Wood... And, of course, his professional colleagues: Fallon, Kimmel, Meyers and Oliver. And a Jon Stewart who was in charge of giving him the farewell. All this shows that the nocturnal television universe is eminently masculine, and that they all do things among themselves and laugh at each other's jokes.Colbert sang Hello, goodbye with McCartney: "You say «goodbye», I say «hello» / You say «stop» but I say «go»" are verses that refer to this struggle of opposites, but also to this beginning of a new stage. The lyrics allow for multiple interpretive readings.Colbert opted for a symbolic ending. An enormous luminous hole leading to a parallel dimension threatened the presenter. Astrophysicist Neil deGrasse explained to the protagonist that the cancellation of his show was causing a kind of cosmic anomaly. When McCartney disconnected the electrical panel, that energetic void sucked up Colbert and the entire building. An indisputable metaphor. The late show ended up reduced to a small snow globe in the middle of the street, sniffed by a dog, as if the television universe were collapsing and being reduced to a kitsch, not very useful object. A simple souvenir from New York. Just a memory. As if the cancellation of the show were also the closing of a media culture, the end of an era for a certain mainstream television that is disappearing and being reduced to a charming relic of the past.

Great uproar among the readers of The New York Times over a column by Nicholas Kristof that talks about sexual abuse committed against Palestinians by Israelis, including cases of inciting dogs to penetrate victims. The noise has been significant enough for the newspaper to publish a piece in which the author and the head of Opinion responded to some of the most frequent questions the piece generated. It was questioned, for example, whether the sources were reliable, and both the newspaper and the journalist detailed why they considered them to be. Here, the applied criterion was interesting: the political support that an entity may give does not automatically disqualify it. That said, I add, ways must be found to contrast it with independent sources (as Kristof has done, speaking directly with some of the victims).

The Prisa group reported this Friday that next season will begin with a new face at the helm of the morning show Hoy por hoy, the leading radio magazine in Spain, which since 2019 has been hosted by Àngels Barceló. The move comes after the Catalan journalist decided not to renew her contract, after 21 years at the station. "I infinitely appreciate the loyalty and trust of the listeners, my teams, and my collaborators," say the statements included in the group's official note announcing this change, which, on the contrary, does not include any thanks to the company or the station.

“Stand up, Jean Louise, your father is passing.” The memorable line from the film To Kill a Mockingbird, which encapsulates the dignity of the vanquished hero, could have sounded this Thursday night when the last episode of The Late Show with Stephen Colbert aired on CBS. The network insists that the decision to withdraw a format that has been rooted in the network since 1993 – when David Letterman hosted it – is purely financial due to the 40 million in losses it generated, despite being a leader in its time slot. But many see Trump's hand in it, considering that for eleven years the comedian has been one of the most critical of the American president, and that the network is making an unequivocal shift to the right.

The season of major technology conferences for application and service developers begins, setting the tone for what consumers will see in the coming months and years. Before Microsoft's Build (June 2nd) and Apple's WWDC (June 8th), Google kicked things off this week with its I/O, steeped in artificial intelligence (AI) and a total overhaul of the iconic web search engine.

On Tuesday evening, Pablo Motos interviewed footballer Marcos Llorente, who is promoting his book on health. It is a publication with a zen aesthetic, as if it were a select edition by a famous artist. Llorente, beyond being an effective soldier for Simeone at Atlètic de Madrid, has become famous for his extravagant theories about the functioning of the human body and well-being. He promotes glasses with yellow and red lenses for stories about melatonin that the scientific community has rejected. The player gave a pair of glasses to the presenter and the plush ants to spread their use. Motos prodded the footballer to repeat his theories about sun exposure, even though he knew they had provoked the indignation of oncologists and dermatologists. Llorente advised against the use of sunscreens because he claimed that the sun does not harm the skin. He stated that it had not been proven that sun exposure over the years could cause cancer. The argument was delirious: “¿And how do they measure this?”, he asked. And he insisted that it was impossible to know if a skin cancer was a result of the sun or any other unhealthy habit. Obviously, Pablo Motos did not know how to refute him, because he does not have the knowledge to do so and had not even prepared himself. Therefore, in prime time and for a family audience, a leading program once again gave space and voice to a denier with esoteric theses, selling them as healthy advice.Llorente is perceived, by a large part of the spectators, as an aspirational and authoritative figure. It is pathetic, but it is so. Successful characters with great purchasing power who consider themselves references or examples to follow. Television often plays at the equidistant farce of “all opinions are respectable”, but some are not because they attack public health. On scientific matters, not all opinions are respectable. The approach of “it cannot be proven” or “how do they know?” in a context without any expert is a trap. It serves the charlatan to feign rational skepticism, a kind of critical thinking, when in reality he takes advantage of the absence of authority to sow doubt without having to provide any proof. He uses doubt to discredit medical evidence when there is no one in front of him who can explain it from science. On the other hand, no one asks Llorente to be the one to prove his theories. He is content to defend them with arrogance, giving wellness advice for the rich with idle lives: “You have to expose yourself to the sun progressively from dawn”, says the clever one.Audiovisual media reward dissent because it generates virality, controversy, and so-called engagement. This is why this worrying obsession with giving space to deniers. For Motos, sun exposure and creams are of no importance. He wants the digital world to highlight the nonsense the next day, without considering that it is of great social irresponsibility. In any case, in private, Llorente and all those who flatter him can roast themselves in the sun as much as they want. On with their convictions.

The book is called The future of truth [The future of truth] and contains interesting reflections on the impact of artificial intelligence on our lives. One of the quotes included is from journalist Kara Swisher and says: “The most sophisticated AI model is like a mirror. It reflects our own morality back at us, polished and articulated, but hollow beneath the surface, ultimately. It is not constrained by Asimov's laws or any other ethical framework, but is bound by the patterns of the data it has been trained on and the goals set by its creators”. There's a problem, though. Swisher never said that. Apparently, an AI supplied the author of the essay, Steven Rosenbaum, with an invented statement. “Besides, I sound like I'm talking with a stick up my ass,” denounced the affected party by the umpteenth hallucination of these nice text generators that when they don't find something they invent it, and off they go. Of course, the fact that a good handful of fake quotes created by AI have been detected in a book that aims to warn about the problems of this technology is, to say the least, ironic.

The Supreme Court has today confirmed the ruling that forces Atresmedia to stop broadcasting El Rosco, the famous final test of the quiz show Pasapalabra. Justice considers that the test constitutes a work protected by intellectual property, the ownership of which corresponds to the Dutch company MC&F and not to ITV, the producer that licenses the broadcast rights of the quiz show. The court, furthermore, imposes compensation for moral damages of 50,000 euros to MC&F, considering that Atresmedia has infringed intellectual property rights.

Guard change at the newspaper El Periódico. Gemma Martínez will be the new director, replacing Albert Sáez, who has been leading it for the last six years. The journalist was already deputy director of the masthead and is an economics specialist, after 22 years working at the newspaper Expansión in Valencia, Barcelona, New York, and Madrid, in addition to a period as deputy director of Levante-EMV. Sáez – who, beyond directing the Catalan edition of El Periódico, was also responsible for content for the different media of the publisher Prensa Ibérica since 2024 – will now exclusively maintain this role. Among the group's newspapers are also Diari de Girona and Regió 7 in Catalonia, in addition to numerous local and regional mastheads in Spain such as La Província, El Correo Gallego, Faro de Vigo, La Nueva España, Levante-EMV, or El Correo de Andalucía.

On Tuesday, Sense ficció revealed the inner workings of Sopa de Cabra, one of the essential and most successful bands in Catalan rock. Sopa de Cabra, tornar enrere played with the title of one of their songs to revisit the past. The circular structure of the story was a success. The camera, positioned at the top of the stage at the final moment of a concert, follows the musicians to the dressing room, where we witness a conflict. Josep Thió sends everyone away to scold his bandmates in private. A start that anticipates an unusual story, unknown to many of their followers. The documentary interviews each of the group's members separately. A frontal close-up against a neutral background that almost conveys the feeling of an interrogation in which the editing scrutinizes the coincidences in their responses. “Sopa de Cabra has never been a group of friends.” They all agree with this idea, and the viewer will have the opportunity to verify it. Many documentaries that delve into the lives of great rock or pop bands, or music legends, have a certain epic quality, even if there may be episodes of excess and misery. This production, on the other hand, breaks with the usual codes: it recovers archive footage of concerts and interviews, and explains the evolution, crises, and contradictions. It also knows how to activate the nostalgia of the group's followers, and contributes to reordering memories linked to the songs and concerts. But there is no epic. And precisely that is what makes it singular and memorable. Sopa de cabra, tornar enrere emanates a serene sadness, a latent pain that the protagonists have accepted and to which they now seem accustomed. Quintana and company, stars of Catalan rock, present themselves before the camera as anti-heroes and present an intimate narrative that conveys weariness. There is a disillusionment with their own history. The documentary has the virtue of sincerity. The members of Sopa speak with the honesty that comes from the distance of events. They don't need imposture, because now they have nothing to lose. They refer to "the truth we have built together". They seem like victims of the tyranny of their own success, forced to maintain the bond to earn a living, because what they shared worked and was liked. The documentary's strategy of bringing the group together for a meal and observing the relationship dynamics is magnificent, as the discomforts and tensions become evident. The preparation of a recipe becomes a metaphor for the delicate balance of coexistence. The documentary works very well with this sense of strangeness, of constant unease, a drama that rises in intensity and is difficult to understand. And the final twist that explains it is even liberating for the viewer. We understand that uncomfortable conflict that has opened the story. The circle is closed. And it serves as solace.

As if nothing interesting were happening in the Valencian Country and the fulfillment of the principle of proximity communication medium established by the foundational law of public radio and television had been suspended, this Friday viewers of À Punt will be able to verify that the channel will dedicate part of its programming to broadcasting a bullfight from the Madrid Feria de San Isidro. As striking as it may seem, it will not be the first occasion; in fact, the broadcast of the bullfighting show from the capital of the State began on May 9 and will be repeated this Sunday. What will be, however, is another example of the evolution of a channel that, with the arrival of PP and Vox to the Generalitat, is increasingly opting for content in Spanish, the mix of opinion and information, crime stories, and the dissemination of shows linked to the most conservative Spanish worldview. A trend that gives no reason to believe it will change, but rather the opposite, with the appointment this week of Román Ceballos as the new president of the board of directors of a channel that for many has long resembled the old Canal 9.

The imputation is a judicial figure that places the accused in limbo: the judge has detected enough evidence to open a case against him, but many things still have to happen before reaching a firm conviction. And yet, the media penalty begins to be paid immediately. The Zapatero case is paradigmatic. El País, for example, shows respect for the procedural moment he is in and headlines using formulas such as "The Court attributes to him...", "The investigation maintains..." or "The judge implicates him...". Afterwards, in the editorial, it admits that all of this exudes a worrying stench and that "the word lawfare, a way of sowing generalized doubts about justice to politically protect oneself from proceedings, is out of place in this case", but the information is careful not to anticipate events. That of the presumption of innocence, in short.

This 2026, Sopa de Cabra celebrates four decades of trajectory with a commemorative tour and the premiere of the documentary Tornar enrere, directed by Jordi Call. The piece, aired this Tuesday on 3Cat's Sense ficció, highlights various aspects of the band's 40 years that had often remained in the background. For instance, the group members openly admit that they do not maintain a friendship outside the musical project. In fact, the documentary begins with an argument after a concert.

The arrest of Jonathan Andic, accused of his father's death, captured the attention of televisions on Tuesday morning, especially from the moment he arrived at the Martorell courts. With permission, of course, of the news about Zapatero's imputation: Spanish media were full of it, doing very exhaustive live specials, with little time to report on anything else. Sara Loscos, on Tot es mou, spoke of "the image of the day and beyond". Without a doubt, it was. All the news programs used it, specifying that the detainee was handcuffed and, in some cases, repeating the scene on several occasions. On Informativos Telecinco they replayed the accused's journey with the mossos entering and leaving the courts up to six times. They specified that Andic was cabizbajo y esposado (head down and handcuffed), to emphasize the image. The snapshot also served to illustrate the news on studio screens and reference the story. The detainee's social status in this context was the morbid element. There were headlines that served to add sensationalism and drama to the case. On Mañaneros on La 1, they asked on a screen caption: ¿Mató a su padre por la fortuna de Mango? (Did he kill his father for Mango's fortune?), and on Informativos Telecinco they announced it as La herencia envenenada (The poisoned inheritance), to delve into the details of the story.Most of the programs took a retrospective look at the case to refresh viewers' memories. Some news programs even returned to the Montserrat area near the scene of the events. They interviewed lawyers, criminologists, and crime experts to recall the most sordid details and some theories that had been put forward in the past year. On "Tot es mou", the discussion served as a strategy for speculation., the discussion served as a strategy for speculation.In the news, there was another differentiating fact that caught the attention. At Antena 3 Noticias, they pixelated the faces of the Mossos d'Esquadra who accompanied Andic to protect their identity. At La Sexta Noticias, on the other hand, they pixelated the detainee and left the faces of the police visible. In the rest of the news programs, they did not erase anyone's image. There is no single criterion or clear approach in the decision.Meanwhile, in X, Carles Porta responded to viewers' requests: “Of course we will try to cover the Andic case, but now is not the time. Allow me to remind you that a detainee is not guilty even if they are sent to prison. A trial and a sentence are necessary. We have to wait and see how everything evolves”. The proof of the need to spectacularize the story and the audience's impatience to discover the details. A voracity that seems to make us increasingly insensitive to tragedy.

"We don't give sermons, we don't give propaganda, we don't do activism, we are not the opposition of one or another. We are an independent organization dedicated to informing. This obliges us to explain the facts as they are, even when they are uncomfortable", said Esther Vera, director of ARA, this evening when she collected the National Communication Award for the press. The jury awarded the prize to Vera "for having contributed decisively to consolidating the newspaper ARA as one of the leading titles in the country". The awards ceremony took place at the Teatre Principal in Sabadell and was hosted by Laura Fa and Lorena Vázquez, who advocated for more women in positions of power and leadership, using Vera's case as an example.

More predictable than an episode of House, the 'cave' has not failed in its custom of blaming Pedro Sánchez for the poor Andalusian regional results, as it did before with those of Extremadura, Aragón, and Castille and León. It is a common practice of the Madrid press, which inevitably applies its centralist steamroller and subjugates provincial elections to its national agenda – with a very Castilian 'ce' –; that is, to the assault on Moncloa. “Sánchez does not blame himself after four defeats”, headlines Abc. “Sánchez depresses his mayors and barons: “They don't see us as winners””, opens the front page of El Mundo: “They don’t see us as winners,” opens front page The charm of this narrative is that it coexists with a secondary spin-off, which is trying to show Feijóo's best smile, and to do so, they put a photo of the leader surrounded by his people. If there were ever an Oscar for best forced composure, here are some clear and sure winners. As much as they talk about Sánchez's failures, let's briefly examine this regional cycle for the popular candidate. In Andalusia, they have lost their absolute majority and five seats; in Aragón, they lose two seats while Vox gains seven; in Extremadura, they aspired to an absolute majority and do not achieve it (while Abascal's party skyrockets and can exert more influence), and in Castille and León, they also depend on the far-right, despite being the only place where they have managed to gain more than their rivals... and future partners. Considering the absolute disaster that Sánchez is according to their narrative, Feijóo's result has the strength of decaffeinated American coffee with skim milk and a hospital vending machine sweetener. Do you remember the 'Feijóo effect' that was the inevitable refrain of all these media not so long ago? Indeed, neither do they.

They were soulmates, but in recent weeks they have fought a battle in court with daggers drawn and the future of the artificial intelligence sector at stake. Elon Musk sued Sam Altman, CEO of OpenAI – the company that created ChatGPT – because he believed that the planned stock market launch contravened the foundational principle according to which the entity was to operate on a non-profit basis, prioritizing the benefit of humanity over private economic gain. A California court, however, has dismissed this claim after only two hours of deliberation.

One of the most comforting spectacles on election nights is the string of politicians trying to present their results in the best possible light, even if they have lost oxen, seats, and all their possessions. But this ritual has another echo the next day, when the front pages appear in the kiosks. For some time now – specifically since the end of bipartisanship has complicated parliamentary arithmetic –, the emphasis tends to be placed more on the loser than on the winner, especially in newspapers most entrenched in politics. It is interesting, therefore, to see how this mirror image holds true in the case of Andalusia. Although Juanma Moreno has been left without an absolute majority, La Razón presented him as an unqualified winner and attacked the socialists: “Moreno wins the elections and Sánchez and Montero sink the PSOE.” El Mundo at least had the honesty not to put too much glitter on the PP's figures with a headline that began with “Uncomfortable victory for Moreno”, although it immediately rushed to add “although the PSOE suffered a historic debacle.” In contrast, for El País, the most annoying pit of the electoral olive was found between the teeth of the Andalusian president: “The PP loses its absolute majority in Andalusia and will depend on Vox.” And La Vanguardia, 20 Minutos,La Opinión de Málaga,ElPeriódico or Córdoba also published negative headlines for the PP.